Bad Case Of Big Mouth - Straight Up Bad LuckI’ve been left with a lot of questions, face palms and awkward lip curls.  Sometimes there’s things you wish you never knew existed, like the combination of pickles and peanut butter or 2 girls 1 cup, yet there they are, existing all the same with no rhyme or reason.  Someone came up with those concepts and thought they were good!  That’s the craziest part.  Now take this band, Bad Case of Big Mouth for example.  Prior to this, my ignorance of easycore as a thing was placed high up on a shelf, far out of reach, even while perched atop a swivel chair and a stack of phone books. Then their debut full-length, “Straight Up Bad Luck,” out on Eulogy Recordings in August of 2014, dangled itself  in front of me like a purple carrot on a stick.  Silly me, being into veggies and all, especially those which I don’t yet understand, took the bate.  Little did I know, I was venturing into the realm of this Four Year Strong, Set Your Goals, New Found Glory type trash and there was no going back.

The album starts off with some radio feedback; the intro to the album with ‘Good Luck, We’re All Counting On You.’  First, you think you’re getting into some metalcore track and then WHAM! That melody hits you in ‘I Have Got to Get Me One O’ Deeze.’  There’s a bit of bi polar spazzing out here, where the band seems on a bit of a different page.  Vocalist, Mark, is running his pop punk mouth while Tyler is tearing his shit up with the same lyrics, like he’s caging a demon.  Only two songs in and I’m questioning what the fuck just happened, not to mention that the chorus is stuck in my head and I’m super pissed about that.

There’s some Blink-182 inspiration leaking from ‘Governor Street.’  The sing alongs are once again bombarded by hardcore vocals.  I can’t tell if this guy is in love, or a potential psycho.  The digitalized vocal portion made me cringe and this track is not nearly as catchy as the last.  You could probably just skip it.

Their first single, ‘Elmer and the Man That Feeds Him’ tones down the hardcore slightly in the beginning.  It’s over produced drum tracks are crisp and clean to the point where I may need to contact them to confirm that Tony is indeed the name of their drummer and not just some pre-programmed drum machine with a double pedal.  The track is pretty dreamy and uplifting so I can’t seem to find a reason to justify the harsh vocals.  It’s like screaming at your mom over dinner “THANKS FOR THIS WONDERFUL MEAL.  YOUR SPAGHETTI IS THE BEST!” why would you need to shout that?  Not that this band feels the need to legibly justify anything they do.  If you need further explanation, just watch their interview with Pop Deflators.  Answers range from fire hydrants, peach cobbler and fingers pointing in your direction.

The longest track on the album ‘Sweet Chin Music’  has a bit more of a youth crew hardcore vibe to it in the beginning with vocal harmonies over hardcore vocals and is a bit more consistent throughout the track.  I still wish they didn’t use that digitized stutter effect.  The chorus and bridges are where the pump in their pop punk flavour.  Being that this was one of the more hardcore tracks on the album, it was tolerable.

‘The Fastest Headbutt This Side of the Mississippi,’ just skip it.  I don’t want to get into it.  Just get these emo kids away from my house windows.

‘She Could Have Made Gorey Love’ is a pretty bad ass title for a song that’s not bad ass at all.  It’s become quite clear at this point, whatever you expect a song to be like on “Straight Up Bad Luck,” based on title alone, forget that thought.  ‘Fistfight With Bambi’ sounds like a grind title, yet it’s the most poppy, electronic, whore ballad I’ve ever heard.  I could see this catching on with scene kids or something, most likely.  If you can hear the production similarities to bands like My Chemical Romance, Scatter the Ashes or Polar Bear Club, you’re not crazy.  John Naclerio worked on the album as engineer, Mixer and mastering engineer and his style translates over.  In that sense, the band seems to have gone with the right man to facilitate the sound they were after.

On ‘From The Shallow End of the Gene Pool,’ more of that electronic stutter I despise, wining, and triumphant good guy boyfriend lyrics.  I almost forgot there were guitars on this track.  They’re mixed quite low and are unmemorable at that.

Closing the album with ‘I Still Believe In Ghosts,’ displaying probably the worst vocal performance on the album.  Despite mostly hating the bands approach to music in general, it was not up until this last track where I was disappointed in their actual voices.  The harmonies fell short, the shouted vocals were gruff and off-putting and random sound clip of some chick saying “stay posi bro” was the icing on the pickles and peanut butter, shit sandwich.  At least, in their redemption, the album art by Hue Dare was like something off Adult Swim.  I would not recommend this album to anyone unless you’re into any of the above name drops.  Bad Case of Big Mouth are certainly a sound for sore ears, but hey, at least they’ve got that cool ranch flavour and know how to party.

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